Salvatore Ferragamo / Spring 2012 RTW

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When the mind turns to why one—or indeed anyone—comes to Milan, it’s more often than not because of those Old World family businesses that transformed themselves into global dynastic powerhouses renowned for their time-honored, passed-down-through-generations artisanal skills. Somewhere along the way, of course, plenty of these names also went from being accessories houses to becoming fashion brands with runway aspirations as big as their ambitions for their clothes. This is what you think of when you’re viewing a Salvatore Ferragamo collection, because somehow you’re left wanting more . . . but from less. Let’s clarify: The experience of sitting ringside in the front row at this show can’t possibly begin to match that of turning over in your hands whatever has resulted from the exquisite workmanship that is the hallmark of Ferragamo. Under the direction of creative director Massimiliano Giornetti, Ferragamo has once again returned to its powerful and compelling tradition of accessories with a lighter, surer, but no less luxe hand.

Take for instance the bags, which once felt like they were chasing the trends of the season. Not anymore. Giornetti tapped into the brio and brilliance of Ferragamo with his spring collection, such as the drawstring duffel in red suede and crocodile, or a raspberry suede purse, or sporty and athletic and somewhat seventies-inflected bags that swung from long shoulder straps. Ditto the shoes: Great ankle-bound, skinny-strapped disco sandals in black and gold (the shoe color combination for next year) worked with such deftness that they are basically a couple of gilded spike heels masquerading as more.

Somehow, though, that ability to connect directly with all that this house can do gets distracted somewhat by the razzle-dazzle of the runway. There is no doubt that this is a Ferragamo-friendly season—we’re talking silk-scarf prints, dipping handkerchief hems, a near-Baroque love of gold; you don’t get much more Salvatore than those—but presented as a heady, frenetic, 1970s-on-endless-repeat show, you end up feeling you’re not seeing as much of that accessory handwork as you’d like, because you’re so distracted by the rush, rush, rush of the runway. The alternative? Maybe seeing this in a more intimate, showroom-presentation setting where those Ferragamo hallmarks could be seen up close and personal. In the drive to increase global presence, maybe no one believes that’s the best way forward. But with so many shows competing for everyone’s attention today, perhaps the devil—not to mention the delight—is better if it is in the details.